From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the  center of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover), but ultimately finding power in themselves.

A series of inspired encounters between creative forces from various worlds of sound and vision has resulted in “Hunter’s Moon,” the infectious first new track from GHOST in 2 years accompanied by phantasmagoric video directed by Amanda Demme, and featured in the newest installment of the blockbuster horror film franchise, Halloween Kills.

Single sleeve jacket with spine, standard gloss finish, white paper inner sleeve, standard weight, vinyl with small hole, and John Carpenter “Halloween Kills (Main Title)” b-side.

Written partially in Nashville and partially in the Compton house Keb’ grew up in, Good To Be… weaves together past and present into a heartwarming tapestry spanning more than forty years of sonic evolution. Joined by a variety of collaborators, including country legend Vince Gill, famed producer Tom Hambridge (B.B. King, Buddy Guy), Darius Rucker, Kristin Chenoweth, and Old Crow Medicine Show, Good To Be…is a deeply cohesive and optimistic collection of music about appreciating what you’ve got, where you come from, and who you get to share it with.

Written and recorded over the past year, Penny and Sparrow’s remarkable new album, Olly Olly, is a work of liberation and revelation, a full-throated embrace of the self from a band that’s committed to leaving no stone unturned in their tireless quest for actualization. The songs here are fearless and introspective, embracing growth and change as they reckon with desire, intimacy, doubt, and regret, and the arrangements are similarly bold and thoughtful, augmenting the duo’s rich, hypnotic brand of chamber folk with electronic flourishes and R&B grooves. The duo—Andy Baxter and Kyle Jahnke—produced Olly Olly themselves, working on their own without an outside collaborator for the first time, and the result is the purest, most authentic act of artistic self-expression the pair have ever achieved.

“Andy and I talk about the process of making this record like a sort of musical Rumspringa,” Jahnke says. “It was an opportunity to truly become ourselves, to evolve outside of the roles we’d been put in—or put ourselves in—because of the way we’d grown up.”  

Texas natives Baxter and Jahnke first crossed paths at UT Austin, where they developed a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter, an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of Bon Iver, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” The duo’s most recent album, 2019’s Finch, marked a turning point in their career, pushing their sound to experimental new heights as it wrestled with notions of masculinity and religion and transformation in deeper, more personal ways than ever before. The record debuted at #2 on the Billboard Heatseekers Chart and was met with a rapturous response from critics and audiences alike, racking up more than 40 million streams on Spotify and earning the band their biggest headline tour to date. 

Brian Fennell is a self-taught producer, programmer and engineer as well as guitarist, percussionist and classically trained pianist with deep roots in the Pacific Northwest. Since Syml's debut in 2016, Brian Fennell has risen to prominence with an acclaimed body of work celebrated for it's honest songwriting exploring themes of longing and loss, amassing over one billion streams across all platforms.

ANNIE LIVE! (ORIGINAL SOUNDTRACK OF THE TELEVISION EVENT ON NBC) features the Tony and Grammy Award-winning score from the beloved musical as performed by the cast of NBC's latest television event. The soundtrack features vocals by Harry Connick, Jr., Nicole Scherzinger, Tituss Burgess and Megan Hilty, with newcomer Celina Smith in the titular role of Annie and Taraji P. Henson.

Annie is one of the biggest hits in Broadway history and the winner of seven Tony Awards including Best Musical. A bonafide name brand around the world, it has been licensed and performed in 50 countries. From songwriters Charles Strouse and Martin Chernin, songs such as "Tomorrow," "It's the Hard-Knock Life," "Maybe," "Little Girls," "Easy Street," and "NYC" are part of the Grammy-winning score that has delighted families and kids of all ages for over 40 years.

Annie Live! (Original Soundtrack of the Live Television Event on NBC)

Originally released in 1996, Come Find Yourself is the debut album by New York's finest, Fun Lovin' Criminals. Spending nearly 4 years in the UK album chart, it's packed with instant classics such as "The Fun Lovin' Criminal", "King Of New York", an inspired cover of the Hal David/ John Barry Bond movie theme "We Have All the Time In the World", not forgetting the Tarantino infused smash "Scooby Snacks". This 25th anniversary edition is presented as heavyweight coloured double vinyl for the first time and features 4 bonus tracks.

In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese post-rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, NO. The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album “Interlude” with anticipation of a follow-up.
 
The follow-up comes with W the band’s debut album for their new label Sacred Bones Records. The record opens with the same melody as “Interlude” in a piece titled “I want to go to the side where you can touch...” and in contrast to the extreme sounds found on NO, this new album whispers into the listener’s ear with a trembling hazy sound meant to awaken sensation.
 
On all of W Wata carries the lead vocal duties. In general, the styles on the album range from noise to new age, as is typical with one of our generation’s most dynamic and adventurous bands, but there is thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell.
 
NO and W weave together to form NOW, a duo of releases that respond to one another. In following their hardest album with this sensuous thundering masterpiece, they are creating a continuous circle of harshness and healing, one that seems more relevant now than ever and shows the band operating at an apex of their musical career.

Equally upbeat and mellow, Hayes writes clever songs that mirror his brand and artistry of unconventional, unique country music. Following the high from scoring his first No. 1 with hit song “Fancy Like,” Hayes’ latest album is a continuation of that success; a medley of beatboxing, sing-rapping, and witty lyrics with refreshing and vulnerable honesty that solidifies his place as a top-notch, one-of-a-kind player in the country music scene. After a long journey of fighting tooth and nail to make it in Nashville, but always sticking to his true self, Hayes’ record tells reminiscent stories of trials and triumphs of following a dream and trying to be better every day, with refreshing, catchy tunes about love and life mixed in that you can’t resist singing along to.

Sunset Motel is the second full-length album from Columbus, OH based garage rockers El Camino Acid. The album was recorded in July of 2020 in Chicago, IL and produced by Colin Croom of Twin Peaks. The album is a thoughtful and versatile blend of alternative rock and power pop. The songs span a large dynamic range, from mid-tempo love songs to guitar-fueled head bangers.

Vinyl LP pressing.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it’s quite an accomplishment.Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut home-base. With this amount of effort it’s no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.

On Little Green House, Anxious explores what itf eels like to enter adulthood in unflinching detail.The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single “In April” and guaranteed sing-along “Growing Up Song” thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.

One of the most striking and strangely moving moments onJake Xerxes Fussell’s gorgeous Good and Green Again—an album, his fourth and most recent, replete with such dazzling moments—arrives at its very end, with the brief words to the final song “Washing-ton.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded.

The song provides an apt metaphor for the record as a whole and for Fussell’s artistic process itself. He appropriated the text from an early 20th century hooked rug by an anonymous Virginian artist depicting exactly what its red-stitched all-caps headline text and caption declares: Mount Vernon, a horse, a cherry tree, and the big man himself, cartoonishly grimacing (or is it wryly grinning? there’s not much mouth, just a red-thread wrinkle). George sits cross-legged in foppish leggings and slippers on a blue bestarred chair, with a perfect arch of snow-white wig haloed around his noble head. The rendering of this folk-art artifact ignores perspective and punctuation: every object in the lineup is the same size, and the list of the General’s stuff includes no commas or line breaks, a kind of accidental concrete poem that democratizes the supposedly great democratizer, reducing him to the same prosaic level as his diminutive crib, his prancing pony, and his tart cherries (maybe he is grimacing after all). The image may have been intended as a tribute, maybe even a reverent one—if we forget the fact that it’s a rug, and that we’re meant to walk all over it—but it hits as satire in its contemporary context, like a textile version of one of those all-caps cat caption memes. (I CAN HAZ CHERRIES?) The “noblest of men” looks a bit pathetic here, a little childish with his big-boy toys, a little goofy and alone—a little like how the rest of us often feel.

(Now, Jake is certainly no apologist for George Washington, nor for the myriad atrocities of American history, but he recognizes the deep wells of American song are filled from headwaters both fresh and vile. Within its ambiguities, “Washington” is, for Fussell, a placid protest song that elevates an artist and her rug above a general in his splendor. It’s a fragment of the broken ways we speak about history and power, a satirical shard sent to pierce and deflate our pernicious, endlessly regurgitated national mythologies. As such, it’s adeeply sad song. It’s not the only one here.)

Fussell carefully considers such contradictions in his studious choice of songs. He’s distinguished himself as one of his generation’s preeminent interpreters of traditional (and not so traditional) “folk” songs, a practice which he approaches with a refreshingly unfussy lack of nostalgia and preciousness, utterly devoid of folkie cosplay. By re-contextualizing ancient vernacular songs and sources of theAmerican South, he allows them to breathe and speak for themselves and for himself; he alternately inhabits them and allows them to inhabit him. His mesmerizing performances reveal the beauty of calling things by their true names, of coaxing old texts and recordings gently through the telescope of time, thereby transmuting them, through his own ineffable alchemy, into something approachably intimate and immediately relevant, something both his and ours.

In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-play-ing—here he plays more acoustic than ever before—pull new valences of meaning from ostensibly antique songs and subjects. What’s different about “Washington” is that it’s one of four original compositions on the album—the others are the three instrumentals—a career first for Fussell, who has heretofore been content to remain a vitreous vessel for existing, often anonymous, songs. On Good and Green Again, Jake not only ventures beyond his established mastery of song catching and song making into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in theNatural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension, honed from collaborations with artists such as Michael Chapman, Steve Gunn, Joan Shelley, Richard Thompson, and Jeff Tweedy. Jake knew after a 2018 Midwestern tour together that he wanted to work with Jim, appreciating his open ears, unorthodox influences, and flexibility in following instincts.

The pair enlisted a group of formidable players hailing from Durham,North Carolina (where Fussell lives) and elsewhere, including regular band members Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun ,Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals.

Together this crew is uncannily able to pinpoint that magical place on Jake’s musical map where melancholy, quietude, and head-nodding, foot-stomping joy commingle and transcend—places like, on previous albums, “Raggy Levy,” “Jump for Joy,” and “The River St. Johns.” Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy) rings that bell with an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory—and a captain’s inevitable betrayal. It’s a rejoinder to “Love Farewell”’s naïve cheer in the face of imminent violence.

If overallGood and Green Again sounds a little sadder and slower than Fussell’s past records, well, maybe we’re all a little sadder and slower these days. A smoldering mood of regret and loss pervades, a distinct vibe of vanitas. But three airy instrumentals, all Fussell originals—“Frolic,” “What Did the Hen Duck Say to the Drake?,” and “In Florida”—punctuate the program, offering respite and light in the form of crisp, shuffling play-party tunes, each in turn somewhat more hopeful and exuberant than the last. Their resemblance to lullabies is, perhaps, not coincidental. Fussell and his partner welcomed their first child into the world during the making of Good and Green Again. These lovely songs bear that promise in letters of bright gold.

Optimism is the debut album from Jana Horn of Austin, Texas. Originally self-released in a small vinyl edition, now widely available. Horn says the LP, "seemed to come about indirectly, almost in passing, a feeling of being in-between things. I was really mobile at that time, living wherever... I had just discovered, late, Raymond Carver, Broadcast, Sybil Baier, Annette Peacock, Richard & Linda Thompson, a short story called “Car Crash While Hitchhiking” by Denis Johnson. I had “Heart Needs a Home” in mind, “The Great Valerio;” I was just really moving through the world, hanging in the shadows of the people I wanted to be. Hoping, looking out, this is Optimism. I was looking for anything."

The Waterboys 1990 album 'Room to Roam' was the bands fifth album. It continued the Folk-Rock sound of 1988's Fisherman's Blues and was recorded at Spiddal House in Galway, where the last recording sessions from the preceding album, Fisherman's Blues, had been recorded. Room to Roam would be the last of The Waterboys' Folk-rock sound until the release of Universal Hall in 2003. Fiddler Steve Wickham, who had been a large inspiration for the change to that sound for Fisherman's Blues, left the band shortly before Room to Roam was released. This new vinyl has been produced to compliment The Magnificent Seven CD/DVD/Book box set. Mastered for Half-speed and cut by Miles Showell at Abbey Road and made into a double album running at 45rpm. The original artwork has been presented in a new 5mm wide spine sleeve, polyline inners and insert.

THE MAGNIFICENT SEVEN The Waterboys Fisherman's Blue/Room To Roam band 1989-90 is a new 145 track 5CD/1DVD box set box set and book which tells the story of the seven piece line up from the Fisherman's Blues 1989 tour through to the release of the bands 5th album, Room to Roam in 1990. As well as the remastered Room To Roam album, this set contains 80+ previously unreleased tracks over 4CDs packed from demos, unreleased studio tracks, live and informal jams/sessions. The DVD contains two complete 1989 audience films of Glastonbury Festival and Milan, home movies and professional footage at Spiddal House during the making of Room To Roam, plus films shot on Waterboys visits to Spiddal in 2010 and 2012. Also includes is a 240p book containing a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band, a collection of previously unseen photos, track notes by all band members, maps, lyrics, manuscripts, and other archival memorabilia.This is Super Deluxe box set is packaged in a rigid slipcase (approx. 288 x 255mm), hard back folder containing 6 discs and the hardback book.

LP 1 SIDE A 01 Hello Texas - By Urban Cowboy Soundtrack 02 All Night Long - By Joe Walsh 03 Times Like These - By Dan Fogelberg 04 Nine Tonight - By Bob Seger & The Silver Bullet Band SIDE B 01 Stand by Me - By Mickey Gilley 02 Cherokee Fiddle - By Johnny Lee 03 Could I Have This Dance - By Anne Murray 04 Lyin' Eyes (2005 Remaster) - By Eagles LP2 SIDE A 01 Lookin' for Love - By Johnny Lee 02 Don't It Make Ya Wanna Dance - By Bonnie Raitt 03 The Devil Went Down to Georgia - By Charlie Daniels Band 04 Here Comes the Hurt Again - By Micky Gilley 05 Orange Blossom Special / Hoedown - By Gilley's Urban Cowboy Band SIDE B 01 Love the World Away - By Kenny Rogers 02 Falling in Love for the Night - By Charlie Daniels Band 03 Darlin' - By Bonnie Raitt 04 Look What You've Done to Me - By Boz Scaggs 05 Hearts Against the Wind - By Linda Ronstadt

$ (Original Motion Picture Soundtrack) is the soundtrack to the 1971 movie of the same name. The soundtrack was composed and produced by Jazz legend Quincy Jones and includes performances from Roberta Flack, Little Richard and Doug Kershaw. This version will be the first repressing since 2002, and will be pressed the color of money on mint green vinyl. SIDE A 01 Money Is (feat. Little Richard) 02 Snow Creatures 03 Rubber Ducky 04 Redeye Runnin' Train (feat. Doug Kershaw) 05 Shady Lady 06 Money Runner 07 When You're Smiling (The Whole World Smiles with You) [feat. Roberta Flack with the Don Elliott Voic SIDE B 01 Do It - To It! (feat. Little Richard) 02 Candy Man 03 Passin' the Buck 04 Kitty with the Bent Frame 05 Brooks' 50c Tour (Main Title Collage) [feat. Little Richard and Roberta Flack]

Formed in 1973, the British hard rock outfit Bad Company was a supergroup comprised of ex-King Crimson bassist Boz Burrell, former Mott the Hoople guitarist Mick Ralphs, and singer Paul Rodgers and drummer Simon Kirke, both previous members of Free. Powered by Rodgers' muscular vocals and Ralphs' blues-based guitar work, Bad Company was the first group signed to Led Zeppelin's Swan Song vanity label. Bad Company's eponymous 1974 debut was an international hit, topping the U.S. album charts and scoring with the #1 single ''Can't Get Enough of Your Love.'' SIDE A 01 Can't Get Enough (Single Edit) [2015 Remaster] 02 Bad Company (2015 Remaster) 03 Movin' On (2015 Remaster) 04 Ready for Love (2015 Remaster) 05 Easy on My Soul SIDE B 01 Good Lovin' Gone Bad (2015 Remaster) 02 Feel like Makin' Love (2015 Remaster) 03 Shooting Star (2015 Remaster) 04 Weep No More (2015 Remaster) LP2 SIDE A 01 See the Sunlight 02 Live for the Music (2015 Remaster) 03 Simple Man (2015 Remaster) 04 Honey Child (2015 Remaster) 05 Run with the Pack (Single Edit) [2015 Remaster] SIDE B 01 Burnin' Sky (2015 Remaster) 02 Rock 'n' Roll Fantasy (2015 Remaster) 03 Rhythm Machine (2015 Remaster) 04 Gone, Gone, Gone (2015 Remaster) 05 Electricland (Single Edit) [2015 Remaster]

Archive Material is the Dublin band’s second album and first for London label Full Time Hobby. Silverbacks recorded the album during the summer of 2020 with producer Dan Fox (Girl Band) and brings together the members’ influences elegantly. Fans of Television, Wire, Devo, and Parquet Courts will feel at home with Archive Material. Available on CD and limited edition, blue vinyl.

LiL Lotus is the creative persona of LA based (Dallas, Texas born) singer / producer and multi-instrumentalist John “Elias” Villagran. He’s garnered millions of streams and hundreds of thousands of listeners with his evocative lyrics, often issued in sorrowful serenades just as commonly as they are heard in pop-punk deliveries. As LiL Lotus, Villagran employs his seemingly limitless vocal range and draws from his vast array of influences in rock, pop-punk, and hip-hop to create genre-blending music. LiL Lotus’ sound has evolved pivoting decisively into a new lane that is opened up in rock, and his new material is, by far, the strongest of his career.

Lotus has collaborated with best in the scene across many genres, from his trio project, Boyfreindz ,with his constant collaborators, emo rap/rockstars Lil Aaron and Smrtdeath, to his frontman gig with metalcore band, If I Die First, LiL Lotus is one of the hardest working singers in LA.

ERRØR BØY, will be LiL Lotus’ first full length album and first physical release. The album features the genre-crushing “Romantic Disaster”, an infectious electropop duet with charismatic singer, Chrissy Costanza (Against The Current), as well as song features from Travis Barker and Lil Aaron.

Pip Blom's 2019 debut album, Boat, was a fresh-faced, yet gloriously fearless game-changer. Welcome Break is the self-assured older sibling who, with an additional year or two behind themselves, isn't afraid to speak out, take lead and instigate a liberated revolution-come-bliss-out. Three weeks were spent recording the album, which was enigneered by Al Harle and self-produced entirely by the band. Getting out of their hometown and into an environment which removed all notions of "normality" or personal space, was an atmospheric godsend in terms of motivation. After spending so long in mandatory isolation, Pip Blom were encouraged to readjust and buckle down as a unit again. Actively seeking out moments of creative-authenticity, be it via a slightly-out-of-tune guitar or proudly-fuzzed vocals, Pip Blom take full-circle with this eleven-track release that resonates with about as much decisive allure as it's precursor, but this time with a bit more contemporary chaos to boot.

Over the last twenty years Comeback Kid have been hailed as one of the major counterparts when it has come to shaping and pioneering both the Canadian and international modern punk and hardcore sound and scene alike. Having formed in Winnipeg, before later releasing their 2002 demo, and the acclaimed, Turn It Around in 2003, the five piece have undoubtedly over the years been able to balance a DIY ethos and dependability, with that of a humanitarian ethos, and genre defining musicianship which has broken down the boundaries of hardcore, and transcended the genre onto a global stage. Breaking into the mainstream with their 2005 career defining record, Wake The Dead, and standing strong in the face of adversity and change ever since, the band have become a force to be reckoned with when it comes to their influence impacting both the present and future of the once underground genre. Now with their seventh record on the horizon, the band are defining what it means to be both an integral, and volatile leader amongst a now globally recognized, and distinguished genre.

Welcome Home is VRSTY's full length debut that follows last year's breakthrough Cloud City EP, which has accumulated millions of streams in less than a year and yielded head-turning singles. VRSTY have perfected their seamless and fearless cross-pollination of metallic grooves and R&B-influenced, after midnight vocal swagger on this 14-track album. VRSTY aren't just offering their own take on a genre; they have authored a fusion style that is entirely their own.